![]() The events that take place on Ester's journey to find herself strips her identity away, until she is left off worse then she was at the start of the novel. The bell jar in a way, is a reversed bildungsroman, because it is about a woman's unbecoming. She wonders if she should fall into the traditional bildungsroman, and marry and live the conventional domestic lifestyle, or attempt to satisfy her ambition to become a writer. Ester struggles with wondering who she should become. For example, the search of her own feminine, romantic identity, takes her own a blind date with a man named Marco, who attempts to rape her. New York City is where all of Ester's trials and tribulations in becoming herself take place. For example, she couldn't imagine Jay Cee's life as her own, because of her lack of femininity. For example, when trying to understand her role in the working world, she starts to adopt the personalities of those around her, and try them out for herself. In order to try and discover her own identity, Ester goes through various tasks, trials and tribulations. She is struggling to find out where she fits into this lifestyle, which is why she begins to take on identity as a research project. Ester enjoys writing, and she knows that this is a great opportunity for her and that she should be having the time of her life, however, she just feels deadened. Her search for self identity takes her on a journey to New York City, where she has gotten the opportunity to become a guest editor for a female magazine. The Bell Jar by Sylvia Plath is a bildungsroman, because it follow's the protagonist, Ester Greenwood's search for self identity. Kafka emphasizes the materialistic values of the bourgeoisie, through the way that Gregor and his family is only worried about his job, instead of the fact that he is a dung beetle. The metamorphosis is a parody of the meaningless conventions of the bourgeoisie, such as a standard middle class job. Gregor wakes up one morning, accepts the fact that he is indeed a dungbeetle, but instead of freaking out over that, he is worried that he is going to miss his train and be late for work. However, the absurdness in this text comes into play not in how Gregor became a dung beetle, but how no one, including Gregor himself, ever wondered why or how he was suddenly a dung beetle, something that is impossible for a human to become in the real world. Gregor Samsa wakes up one morning, transformed into a dung beetle. Plausible action is action by a character in a story that seems reasonable, given the motivations presented.The metamorphosis by Franz Kafka is a prime example of an absurd text, because the story is a parody of these traditional human beliefs, and bourgeoisie intentions. Motivated action by the characters occurs when the reader or audience is offered reasons for how the characters behave, what they say, and the decisions they make. Characters can be convincing whether they are presented by showing or by telling, as long as their actions are motivated. In telling, the author intervenes to describe and sometimes evaluate the character for the reader. Showing allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is. Authors have two major methods of presenting characters: showing and telling. They are more fully developed, and therefore are harder to summarize. Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. the character in a work of literature that opposes. the main character in a work of literature. changes as a result of the storys events. one who does not change much in the coarse of a work. Some flat characters are recognized as stock characters they embody stereotypes such as the "dumb blonde" or the "mean stepfather." They become types rather than individuals. A person or animal who takes part in the action of a story, play, or other literary work. They are not psychologically complex characters and therefore are readily accessible to readers. A flat character embodies one or two qualities, ideas, or traits that can be readily described in a brief summary. A static character does not change throughout the work, and the reader's knowledge of that character does not grow, whereas a dynamic character undergoes some kind of change because of the action in the plot. The antagonist is the character, force, or collection of forces that stands directly opposed to the protagonist and gives rise to the conflict of the story. A hero or heroine, often called the protagonist, is the central character who engages the reader's interest and empathy. A character is a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that character seem real to the reader.
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